Belting (music)

Last updated
British pop singer Ellie Goulding engaging in what is likely a vocal belt technique. Ellie Goulding at Manchester Academy 2012 - Belting.jpg
British pop singer Ellie Goulding engaging in what is likely a vocal belt technique.

Belting (or vocal belting) is a specific technique of singing by which a singer carries their chest voice above their break or passaggio with a proportion of head voice. Belting is sometimes described as "high chest voice" or "mixed voice" (not to be confused with the mixing technique), although if this is done incorrectly, it can potentially be damaging for the voice. It is often described as a vocal register, although this is also technically incorrect; it is rather a descriptive term for the use of a register. [1] [2]

Contents

History

Belting, or belt voice, as a vocalism has no specific origin that is easily traceable to one specific source. [3] Belting can be found all over the world in music from many different cultures. Some prominent examples of this include Mexican, African and Middle Eastern musical traditions. Belting, as it is commonly referred to in a modern American sense, can trace its origins back to the minstrel shows and the Vaudeville circuit of the Mid to Late 19th century. Belting during this period was often associated with the lower and working class, as well as other marginalized communities. Belting was seen as lesser than more traditional singing based in western classical tradition, which was perceived as more legitimate and higher class. [4]

Belting became commonplace in Broadway musicals following Ethel Merman's performance in Girl Crazy (1930), notably in the song "I Got Rhythm". [5] The opening credit sequence of the James Bond film Goldfinger (1964) features a title song performed by Shirley Bassey, which established belting as a signature quality of the James Bond films that continued through to the following century. [6] [7]

Physiology

There are many explanations as to how the belting voice quality is produced. Under a scope, the vocal folds visibly shorten and thicken, and they undulate along with more of their vertical surface area than in head register when a smaller segment of their edge must undulate to produce sound. [8]

One researcher, Jo Estill, has conducted research on the belting voice, [9] [10] and describes the belting voice as an extremely muscular and physical way of singing. When observing the vocal tract and torso of singers, while belting, Estill observed:

Acoustics

Traditionally, throughout voice pedagogy literature, the belt, yell or call is characterized acoustically on a spectrogram by the presence of a dominant second harmonic. However, it is important to note that belting research is still evolving and changing as voice scientists learn more about vocal function and perception. Belting and yelling share a lot of common characteristics from and acoustical point of view. Due to vocal tract resonances and the shape of the vocal tract, favorable vowels for belting include [æ], found in words like “cat,” and the diphthong [eɪ], found in words like “lame." [11] Belting requires the usage of these “wide” and spread vowels like the ones previously mentioned that shorten the length of the vocal tract and raise the first vocal tract resonance, which is accompanied by the presence of a strong second harmonic. This technique contrasts with traditional western classical schools of thought that do not advocate for the spreading of vowels and raising of the larynx at high registration events. Western classical models typically advocate for a stable laryngeal position and stable vocal tract shape as a voice passes through various registration events.

Possible dangers

Belting without proper coordination can lead to constriction of the muscles surrounding the vocal mechanism. Constriction can consequently lead to vocal deterioration. [12] [ need quotation to verify ]

While acknowledging the extra risks inherent to belting, many proponents take pains to point out that it is an advanced skill which (so long as it is a "soft yell", and produced properly without straining and pain) is no more damaging to the voice than any other type of singing. Indeed, some genres of singing (such as blues rock) rely on belting to allow the vocalist to "cut through" the electric guitar while playing live. Many in the musical theater industry like to quip, "belting is not bad; bad belting is bad." [13]

As for the physiological and acoustical features of the metallic voice, a master's thesis [14] has drawn the following conclusions:

Related Research Articles

Phonetics is a branch of linguistics that studies how humans produce and perceive sounds or, in the case of sign languages, the equivalent aspects of sign. Linguists who specialize in studying the physical properties of speech are phoneticians. The field of phonetics is traditionally divided into three sub-disciplines on questions involved such as how humans plan and execute movements to produce speech, how various movements affect the properties of the resulting sound or how humans convert sound waves to linguistic information. Traditionally, the minimal linguistic unit of phonetics is the phone—a speech sound in a language which differs from the phonological unit of phoneme; the phoneme is an abstract categorization of phones and it is also defined as the smallest unit that discerns meaning between sounds in any given language.

<span class="mw-page-title-main">Place of articulation</span> Place in the mouth consonants are articulated

In articulatory phonetics, the place of articulation of a consonant is an approximate location along the vocal tract where its production occurs. It is a point where a constriction is made between an active and a passive articulator. Active articulators are organs capable of voluntary movement which create the constriction, while passive articulators are so called because they are normally fixed and are the parts with which an active articulator makes contact. Along with the manner of articulation and phonation, the place of articulation gives the consonant its distinctive sound.

The term phonation has slightly different meanings depending on the subfield of phonetics. Among some phoneticians, phonation is the process by which the vocal folds produce certain sounds through quasi-periodic vibration. This is the definition used among those who study laryngeal anatomy and physiology and speech production in general. Phoneticians in other subfields, such as linguistic phonetics, call this process voicing, and use the term phonation to refer to any oscillatory state of any part of the larynx that modifies the airstream, of which voicing is just one example. Voiceless and supra-glottal phonations are included under this definition.

<span class="mw-page-title-main">Human voice</span> Sound made by a human being using the vocal tract

The human voice consists of sound made by a human being using the vocal tract, including talking, singing, laughing, crying, screaming, shouting, humming or yelling. The human voice frequency is specifically a part of human sound production in which the vocal folds are the primary sound source.

<span class="mw-page-title-main">Larynx</span> Voice box, an organ in the neck of amphibians, reptiles, and mammals

The larynx, commonly called the voice box, is an organ in the top of the neck involved in breathing, producing sound and protecting the trachea against food aspiration. The opening of larynx into pharynx known as the laryngeal inlet is about 4–5 centimeters in diameter. The larynx houses the vocal cords, and manipulates pitch and volume, which is essential for phonation. It is situated just below where the tract of the pharynx splits into the trachea and the esophagus. The word 'larynx' comes from the Ancient Greek word lárunx ʻlarynx, gullet, throatʼ.

The field of articulatory phonetics is a subfield of phonetics that studies articulation and ways that humans produce speech. Articulatory phoneticians explain how humans produce speech sounds via the interaction of different physiological structures. Generally, articulatory phonetics is concerned with the transformation of aerodynamic energy into acoustic energy. Aerodynamic energy refers to the airflow through the vocal tract. Its potential form is air pressure; its kinetic form is the actual dynamic airflow. Acoustic energy is variation in the air pressure that can be represented as sound waves, which are then perceived by the human auditory system as sound.

<span class="mw-page-title-main">Singing</span> Act of producing musical sounds with the voice

Singing is the act of creating musical sounds with the voice. A person whose profession is singing is called a singer, artiste or vocalist. Singers perform music that can be sung with or without accompaniment by musical instruments. Singing is often done in an ensemble of musicians, such as a choir. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Many styles of singing exist throughout the world.

Passaggio is a term used in classical singing to describe the transition area between the vocal registers. The passaggi (plural) of the voice lie between the different vocal registers, such as the chest voice, where any singer can produce a powerful sound, the middle voice, and the head voice, where a penetrating sound is accessible, but usually only through vocal training. The historic Italian school of singing describes a primo passaggio and a secondo passaggio connected through a zona di passaggio in the male voice and a primo passaggio and secondo passaggio in the female voice. A major goal of classical voice training in classical styles is to maintain an even timbre throughout the passaggio. Through proper training, it is possible to produce a resonant and powerful sound.

<span class="mw-page-title-main">Vocal register</span> Range of tones a certain voice type can reliably produce

A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds. These registers include modal voice, vocal fry, falsetto, and the whistle register. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.

A hoarse voice, also known as dysphonia or hoarseness, is when the voice involuntarily sounds breathy, raspy, or strained, or is softer in volume or lower in pitch. A hoarse voice can be associated with a feeling of unease or scratchiness in the throat. Hoarseness is often a symptom of problems in the vocal folds of the larynx. It may be caused by laryngitis, which in turn may be caused by an upper respiratory infection, a cold, or allergies. Cheering at sporting events, speaking loudly in noisy environments, talking for too long without resting one's voice, singing loudly, or speaking with a voice that is too high or too low can also cause temporary hoarseness. A number of other causes for losing one's voice exist, and treatment is generally by resting the voice and treating the underlying cause. If the cause is misuse or overuse of the voice, drinking plenty of water may alleviate the problems.

<span class="mw-page-title-main">Aryepiglottic fold</span> Folds near the larynx

The aryepiglottic folds are triangular folds of mucous membrane of the larynx. They enclose ligamentous and muscular fibres. They extend from the lateral borders of the epiglottis to the arytenoid cartilages, hence the name 'aryepiglottic'. They contain the aryepiglottic muscles and form the upper borders of the quadrangular membrane. They have a role in growling as a form of phonation. They may be narrowed and cause stridor, or be shortened and cause laryngomalacia.

Chest voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Chest voice can be used in relation to the following:

<span class="mw-page-title-main">Vestibular fold</span> Part of the larynx

The vestibular fold is one of two thick folds of mucous membrane, each enclosing a narrow band of fibrous tissue, the vestibular ligament, which is attached in front to the angle of the thyroid cartilage immediately below the attachment of the epiglottis, and behind to the antero-lateral surface of the arytenoid cartilage, a short distance above the vocal process.

<span class="mw-page-title-main">Vocal pedagogy</span> Study of the art and science of voice instruction

Vocal pedagogy is the study of the art and science of voice instruction. It is used in the teaching of singing and assists in defining what singing is, how singing works, and how singing technique is accomplished.

Modal voice is the vocal register used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common phonation of vowels. The term "modal" refers to the resonant mode of vocal folds; that is, the optimal combination of airflow and glottal tension that yields maximum vibration.

Chiaroscuro is part of bel canto, an originally Italian classical singing technique in which a brilliant sound referred to as squillo is coupled with a dark timbre called scuro. The overall sound is often perceived as having great depth or warmth. Chiaroscuro is commonly used in opera. Within operatic singing, especially in Italian, the vowel "Ah" provides an example of where chiaroscuro can be used: the vowel must have a bright Italian sound, as well as depth and space in the tone, which is achieved through the use of breath and the body.

<span class="mw-page-title-main">Jo Estill</span> American singer (1921–2010)

Josephine Antoinette Estill, known as Jo Estill, was an American singer, singing voice specialist and voice researcher. Estill is best known for her research and the development of Estill Voice Training, a programme for developing vocal skills based on deconstructing the process of vocal production into control of specific structures in the vocal mechanism.

Estill Voice Training is a program for developing vocal skills based on analysing the process of vocal production into control of specific structures in the vocal mechanism. By acquiring the ability to consciously move each structure the potential for controlled change of voice quality is increased.

In vocal music, the term voce faringea describes a historical singing practice developed and used especially by the bel canto tenors of the late eighteenth and early nineteenth century to extend the upper range of the voice by modifying the falsetto, which is typically heard as a weak or feminine sound, into a vocal quality that is more tenoral and powerful.

Muscle tension dysphonia (MTD) was originally coined in 1983 by Morrison and describes a dysphonia caused by increased muscle tension of the muscles surrounding the voice box: the laryngeal and paralaryngeal muscles. MTD is a unifying diagnosis for a previously poorly categorized disease process. It allows for the diagnosis of dysphonia caused by many different etiologies and can be confirmed by history, physical exam, laryngoscopy and videostroboscopy, a technique that allows for the direct visualization of the larynx, vocal cords, and vocal cord motion.

References

  1. ↑ Henrich, B. N. (2006). "Mirroring the voice from Garcia to the present day: Some insights into singing voice registers". Logopedics Phonatrics Vocology. 31 (1): 3–14. doi:10.1080/14015430500344844. PMID   16531287. S2CID   14093252.
  2. ↑ Singers such as Christina Aguilera are known for their signature styles of belting Soto-Morettini, D. (2006). Popular Singing: A Practical Guide To: Pop, Jazz, Blues, Rock, Country and Gospel. A & C Black. ISBN   978-0-7136-7266-4.
  3. ↑ LoVetri, Jeanette (2012). "The Confusion About Belting: A Personal Observation". VOICEPrints. September–October 2012.
  4. ↑ Edwim, Robert (2007). "Belt is Legit". Journal of Singing . 64 (2): 213–215 – via Full Text Finder.
  5. ↑ Jones, Kevin Michael (November 5, 2015). "The Evolution of the Female Broadway Singing Voice". Musical Theatre Resources. Retrieved February 25, 2024.
  6. ↑ Cohen, Howard (January 19, 2018). "Belting – Shirley Bassey Nearly Passed Out Holding the Climactic Final Note of 'Goldfinger'". Diamond Designs. Retrieved February 25, 2024.
  7. ↑ "Film technique: Music". Observations on film art. Retrieved 2024-04-12.
  8. ↑ Flynn, Amanda (2022). So You Want to Sing Musical Theatre (1st ed.). Lanham, Maryland: Rowman & Littlefield. pp. 71–89. ISBN   9781538156339.
  9. ↑ Estill, Jo (1988). "Belting and Classic Voice Quality: Some Physiological Differences". Medical Problems of Performing Artists. 3 (1): 37–43. JSTOR   45440649.
  10. ↑ Yanagisawa, Eiji; Estill, Jo (1989). "The Contribution of Aryepiglottic Constriction to 'Ringing' Voice Quality". Journal of Voice . 3 (4): 342–350. doi:10.1016/S0892-1997(89)80057-8.
  11. ↑ Bozeman, Ken (2013). Practical Vocal Acoustics (1st ed.). Lanham, Maryland: Rowman & Littlefield. pp. 68–72. ISBN   978-1-53817464-7.
  12. ↑ Warrack, John; West, Ewan (1992). The Oxford Dictionary of Opera. Oxford: Oxford University Press. p. [ page needed ]. ISBN   0-19-869164-5.
  13. ↑ Stoney, Justin (November 15, 2016). "How All Singers Should Think About Belting". Voice Council Magazine. Archived from the original on September 27, 2019. Retrieved February 25, 2024.
  14. ↑ Hanayama, Eliana Midori (2003). Voz metálica: estudo das características fisiológicas e acústicas (Masters thesis) (in Portuguese). São Paulo: Faculdade de Medicina, USP. doi: 10.11606/D.5.2003.tde-19102005-145626 .
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.